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A COURSE 



IN TINTING 



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A COURSE 



IN TINTING 



Prepared for Schools and Colleges where only a few Plates 
are introduced into the regular Drawing Course, 



BY 



W. D. BROWNING, M. E., 

Editor"'of -'The Draftsman. "" 



Cloth, 50c. Paper, 30c. 



PrBLISHED BY 

THE BROWNING PRESS, 

dvEVElwAND, O. 






■JSRARYof 30f48R£SS 



Copyright 1905 

by 

W. D. Browning 

Cleveland, O. 



THE BROWNING PRESS 




CONTENTS. 



Materials to Be Used, - 
Shrinking the Paper, 
Oiithne of Borders and Title, - 
Outline of Objects on Plate I, 
Outline of Objects on Plate II, 
Outline of Objects on Plate III, 
Outline of Plate IV, - 
Outline of Plate V, 
Conclusion. - . _ 



3 

5 

7 

lo 

II 

12 

14 



PREFACE 



It is the aim of the author to present the outlines of at least 
five plates, with suggestions for the finishing in color, for a 
course in tinting. 

A number of the technical schools have introduced a small 
amount of this work in their drawing courses, and it is the hope 
of the author that this work will aid the student and the instruc- 
tor, too. 

The color plates are placed near each other to facilitate print- 
ing and binding. 

The author is indebted to Mr. A. H. Bowlzer, Jr. , for assist- 
ance in making up the illustrations. 

W. D. BROWNING. 



A COURSE IN TINTING 



MATKRIAI^S TO BE USED. 



For this class of work the fol- 
lowing materials will be needed: 

A set of water colors, a nest of 
cabinet saucers, a camel's hair 
brush, a bottle of mucilage and 
brush, and a small glass for wa- 
ter. 

Water Colors. — Any good set 
such as Winsor and Newton's wa- 
ter colors in "half pans," Fig. i, 
are recommended. They should 
contain the following colors : Burnt 
Sienna, Raw Sienna, Crimson 
Lake, Gumboge, Burnt Umber, 
Indian Red and Prussian Blue, 



Saucers. — The "nest" should 
contain six medium-sized saucers, 
Fig. 2, or one dish having several 




If the bottled ink has been used 
for the previous work, a stick of 
Indian ink will also need to be pur- 
chased. All the conventional colors 
used to represent the different ma- 
terials may be mixed from the sim- 
ple ones given in this list. 



Fig. 2. 

pockets or cellars, Fig. 3. 

The camel hair brush should be 
double ended, and should be of me- 
dium size, one end about ^ inch 
diameter, and the other s/g inch. 





Mucilage. 



-The mucilage needs 
to be very thick, as it is used in 
shrinking down the heavy drawing 
paper. The ordinarv mucilasre in 



Difcdions for Shrinking Paper. 



bottles is not fit for this use, and it 
is recommended that each person 
buy the Gum Arabic, and dissolve 
it in a bottle of water, using it as 
thick as it will run. 

Water Glass. — This glass is for 
holding clean water with which the 
colors are mixed. Any small ves- 
sel will answer this purpose, but 
a small-sized tumbler is the most 
convenient. 

In addition to these the student 
may provide himself with a slate ink 
slab, as shown in Fig. 4. 



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Fig. 4. 

The stick ink, Fig. 5, 
is used for all black 
work, it being prepared 
by grinding the end 
around in a little water 
in the slate slab. The 
glass cover prevents the 
evaporation of the 
water. Ink may be 
ground in a saucer of 
the set in Fig. 3. 



Fig. 5- 



DIRECTIONS FOR SHRINK- 
ING DOWN PAPER._^ 

The white paper known as John 
Whatman, hot pressed, size 15 x 20, 



is recommended for this work and 
the side of the paper showing the 
name right side up is the one on 
which to do the tinting. 

Whenever a drawing is to be 
tinted, it must be shrunk down in 
order that it may not wrinkle after 
tinting. To shrink down the pa- 
per, proceed as follows : Lay the 
edge of the tee square parallel to 
an edge of the paper and about ^ 
inch from it, and turn up the pa- 
per at right angles, running along 
the sharp edge of the tee square 
with the thumb nail or knife blade. 
Turn up all the edges in this way 
so that the paper will resemble a 
shallow paper box. The corners 
need not be cut, though many 
draftsmen cut out a V-shaped notch 
from each corner to save trouble in 
folding, but must be doubled over 
so that all the edges of the paper 
will stand nearly perpendicular.. 
After this is done the paper should 
be turned over so as to rest on the 
upturned edges, and dampened very 
s-ightly with a sponge on the back. 
Every part of the paper must be 
dampened except the upturned 
edgs, which must be kept dry in 
order that the mucilage may stick. 
No water should be left standing 
on the sheet when it is turned 
over. 

The paper should next be turned 
back and placed so that two edges 
at the right angles may correspond, 
when turned down, to two edges of 
the drawing board. The nuicilage 
sliou'd next be applied to the dry 
edges as rapid'y a'^ po.s.sihle. The 



Outline of Borders. 



two edges that correspond to the 
edges of the drawing board should 
first be turned down, great care be- 
ing taken to leave no wrinkles in 
these edges nor in the corner be- 
tween them. The other edges 
should then be turned down, the 
same care being taken to leave no 
wrinkles in these edges or in the 



paper should be allowed to dry 
slowly. Paper should never be 
dried in the sun or in artificial heat, 
as it will get too dry and after- 
wards become loose w^hen exposed 
to ordinary temperature. 

Considerable practice may be 
necessary before the paper can be 
shrunk down successfuUv, but if 




ig 5.-- OUTI^INE OF BORDERS ON PIRATES. 



corner. The edges must be kept 
straight, and, if there are no wrin- 
kles left in the edges,' the paper 
will come down smooth when dry, 
no matter how niucli w^rinkled while 
wet. The natural shrinkage of the 
paper is sufficient without stretch- 
ing. The edges should be pressed 
dowm smooth with the back of a 
knife or the thumb nail, and the 



the directions above are followed 
closely, there need be no difficulty. 
The paper must be dampened even- 
ly, and the mucilage must be put 
on evenly and abundantly. Great 
care must be taken not to drop any 
mucilage on the middle of the draw- 
ing board, and not to get any be- 
yond the dry edge of the paper. 
Otherwise the paper may be stuck 



Plate /. 



down so as to make trouble in cut- 
ting the plate off when finished. 

After the paper is dry, lay out 
the borders as shown in Fig. 5, 
which is for a sheet 14 x 19 when 
finished. 

It may be necessary, in order to 
conform to the size of sheet used 
in the school where the student is 
at work, to make the border 12 x 
16, or some other dimensions. 

If this is true, the dimensions 
given on Plates I and II for the 
distance from border line to object 
will have to be changed to suit con- 
ditions. 

For instance on Plate I the dis- 
tance from the border to the ob- 
ject may change to i inch instead 
of 1V2 inch. 



PLATE L 



The following illustration will 
give an idea of the arrangement of 
seven rectangles from the border 
line on Plate I. 

Ink in all outlines heavy and do 
not fail to erase all lead pencil 
marks. 

The dimensions and other figures 
are only to aid in locating the rec- 
tangles and should not be placed 
on the drawing. 

It has been suggested that after 
inking in the figures, the plate 
should be washed over with clean 
water to take out any surplus ink 
and to leave the paper in better con- 
dition for the water shades. The 



paper should be sopped very light- 
ly with a sponge and a large quan- 
tity of water should be used. After 
washing the paper, allow it to dry 
slowly. If the paper is dried in the 
sun it will get so warm that the 
shades will dry too rapidly. When 
the paper is down smooth and dry, 
it should be placed on the drawing 
table slightly inclined in one direc- 
tion in order that the ink or water 
color may always flow in one direc- 
tion. 

TO PREPARE THE WASH. 

Take a saucer half full of clean 
water and by rubbing the end of a 
stick of ink mix enough India ink 
to make a shade no darker than 
in No. I, Plate I. A small piece of 
paper should be kept to try the 
shades on before putting them on 
the plate. 

Mix the ink thoroughly with one 
end of the brush before applying 
to the paper. One end of the 
brush should always be used in the 
ink or tint, while the other end is 
kept clean for blending, if a double 
brush is used. 

With considerable ink in the 
brush but not nearly all it will hold, 
commence at the top line of No. i 
and follow it carefully with the 
first stroke. Before the ink dries 
at the top, lay on the ink below 
by moving the brush back and forth, 
using enough ink in the brush, 
working toward the bottom. The 
lines must be followed carefully at 
first, and the brush should not be 
used twice over the same place. 




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PLATK I FINIvSHI«:D. 



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PLATE III FINISIII<:r). 




PLATE IV FINISHED. 



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PLATE V FINISHED. 



Plate L 



In following a line with the brush, 
get in such a position that the fore- 
arm will be perpendicular to the 
direction of the line. Do not paint 
the shades on but allow them to 
flow quite freely after the brush. 



In shading or tinting, there is great 
danger of making clouded places 
and "water lines" unless the great- 
est of care is taken in using the 
brush. If the brush is used over a 
shade that is partly dry it w'ill 




Blending. 



make it clouded. If the edge of the 
shade is allowed to dry before fin- 
ishing, a ''water line" is produced 
where the new shade is joined to 
the old. 

In finishing up a figure the wash 
should be taken up with the brush 
so that it will not spread beyond the 
lines. Then wipe the brush on a 
cloth and take up some more of the 
wash. The sun should never be al- 
lowed to shine on the paper, as it 
will dry it too fast. A damp day 
for tintino: or shading^ is better than 
a dry one for the reason that the 
drying is then very slow. Com- 
mience on Xo. i and while it is dry- 
ing, put a coat on No. 2. To deter- 
mine when a shade is dry, look at 
it very obliquely, and if it does not 
glisten it is ready for another coat. 

The small rectangle No. i is to 
have one light coat of India ink 
wash ; No. 2. two coats ; No. 3, 
three coats. IMake the first coats 
very thin, so that they will barely 
show on the paper when dry. Let 
each coat dry before putting on an- 
other. 



p.ying to the solid object. Begin 
No. 4, by laying on a flat shade 
about 54 i'lich wide, using but little 
ink ; and when nearly dry, take the 
other end of the brush, slightly 
moistened in clean water, and run 
it along the lower edge of the 
shade blending downward. When 
this is entirely dry, lay on another 
plain shade a little wider than the 
first, and blend it downward in the 
same way, but extending it a little 
farther. Use but little water and 
lay on the shade in strips, always 
commencing at the top line. When 
finished the lower part will have had 
but one coat while the upper part 
will have had several. Blend 5 in 
the same way as 4, but use narrow- 
er strips of yellow tint in order 
to make more contrast between the 
top and bottom. 

No. 6 is to be blended from red 
at the top to blue at the bottom. 
Turn the board around for the 
work. 

The large rectangle is to shade 
from five coats of India ink at the 
top to white at the bottom. 



BLENDING. 



PLATE II. 



A varying shade, such as is no- 
ticed in viewing a cylindrical object, 
may be obtained by blending with 
India ink. This operation of blend- 
ing is employed in bringing out the 
forms of objects as seen in the fig- 
ures of Plate II. 

The figures 4 and 5, Plate I, are 
for i)ra':ticc in blending before ap- 



SHADING SOLIDS. 

When a solid object is placed in 
a strong light coming principally 
from one direction, a contrast will 
be noticed between the shades of 
the different portions, and these 
shades serve to reveal the shape 
of the object nuich more clearly 



Plate II. 



than when placed in diffused Hght 
only. For this reason, as well as 
from the fact that the laws of the 
shades of an object in light from 
one direction are very simple, the 
shades in a drawing are usually 



made to correspond to those of a 
body where the light comes from a 
single window. In all cases, how- 
ever, it is assumed that there is a 
certain amount of diffused light, 
such as is always present in a room 

















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Plate II Finished, 



Plate III. 



lighted by a single window, aside 
from the strong beam of light that 
comes directly through the win- 
dow. 

1. The shades of an object are 
always in greater contrast when the 
object is near the eye than far 
away. 

2. The lightest portion of a cyl- 
inder, cone or sphere is where the 
direct light strikes the object per- 
pendicularly, and the darkest por- 
tion of the same is where the light 
strikes tangent to the object, the 
shade varying gradually between 
these parts. 

The facts just given may easily 
be proved by holding a body in the 
light and noticing the shades. 

These facts we will assume as the 
principles that govern the shading 
of the following objects. 

In view of the above principles 
the first thing to be determined, 
after assuming the direction of the 
light, is where the lightest and dark- 
est parts will be and what parts are 
near to the observer and what 
parts are the farthest away. In 
all the following cases, we will as- 
sume the light to come from over 
the left shoulder, make the an- 
gle forty-five degrees with both 
the vertical and horizontal planes 
of projection. 

The same remarks about distance 
of object to border line may be 
made of this plate as for Plate I. 
A very thin wash may be put on 
all objects of the plate. 

The top views of the first three 



objects from the left should be the 
same shade and of about three 
coats. Turn the board so to work 
the blending as in Plate I for the 
flat and cylindrical surfaces. 

The lower right hand object is 
intended for a sphere and should 
be shaded about as shown. No doubt 
the student will observe from Plate 
II the proper shading. Endeavor 
to improve on these illustrations. 



PLATE III. 

Plate III contains the convention- 
al tints for the following materials : 
Cast iron, wrought iron, steel, brass, 
copper, brick, stone and wood. 
These colors are more difficult : to 
lay on evenly than the India ink 
shades, but what has been said 
about the application of ink shades 
applies to them. Great pains must 
be taken to have the paper in good 
condition and to keep the colors 
well mixed. Enough color should 
be mixed to finish the figure as it 
is almost impossible to match the 
colors exactly. Wash the brush 
thoroughly before commencing a 
new figure. Below are given the 
materials to be used in each con- 
vention, the exact proportions of 
these can best be found by experi- 
ment, comparing the colors with 
those on the plate. A number of 
thin coats, well laid on, generally 
look more even than when the tints 
are laid on in single coats. 

For cast iron, use India ink, 
Prussian Blue and Crimson Lake ; 



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Plate III. 



for wrought iron, Prussian Blue and 
India ink ; for steel, Prussian Blue ; 
for brass, Gamboge, Burnt Umber 
and Crimson Lake ; for copper, 



for brick, Indian Red; for stone. 
India ink and Prussian Blue; for 
Wood, Raw and Burnt Sienna. The 
convention for the body of wood is 



Crimson Lake and Burnt Umber ; made by laying on a light coat of 




Plate IV. 



Raw Sienna and the grain is made 
by applying the Burnt Sienna after 
the first is dry with the point of 
the brush, blending sHghtly in one 
direction. Other combinations re- 
quiring dfferent colors are often 
used, but as they are conventional, 
the above will serve as an illustra- 
tion. 



PLATE IV. 

Lay out the border of the plate as 
shown in Fig. 5 and then draw out 
a design for a stained glass church 
window, a door, or a hearth, then 
color the glass or tile appropriately 
with water colors, using black 
drawing ink for the lead joints be- 
tween the pieces of glass or tile. 

One illustration is of a door and 
the dimensions of it are given in Fig. 
6, and it should be made full size 
of these figures. No figures are to 
eo on the sheet. 



PLATE V. 

Draw the front and side eleva- 
tion of a house, showing colors of 
the painting proposed; also two 
floor plans colored with the proper 
technical colors, brick chimneys 
and walls red, wooden walls yel- 
low, floors white. 

The dimensions for the floor 
plans should be taken from Fig. 
7, using such a scale that will per- 
mit the plans to go on nicely, per- 



haps 3-16 inch to the foot would be 
about right. 

The walls will be 6 inches thick 
or 3-32 inch on the scale. 

Draw the plans first and then the 
elevations to suit, the rough dimen- 
sions are the sizes to be used on the 




Fig. 6. 



drawing but only where there is 
none from the plan that will de- 
termine the distance. The distance 
"A" should be found from the plans. 
The side elevations of the house 
show brick walls, each brick 2x8 



Plate V—Fig. 7. 





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Plate V 








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Plate V. 



for the long view, and 2x4 for 
the end view. 

The dimensions of a window are 
here given and the student should 
note the weather boarding to be 
4}^ inches wide. The corner boards 
and base boards are each 4^ inches 
wide, too. 



COXXXUSION. 



It might be said that there are 
an endless variety of examples all 
about us, from v/hich the student 
can secure material for several 
other plates. 



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